STUDIO AIRSEMESTER 1, 2015

MADELAINE WALSH 635 805

TABLE OF CONTENTS

2 INTRODUCTION

3-4 A1 - DESIGN FUTURING

5-6 A2 - DESIGN COMPUTATION

7-8 A3 - COMPOSITION

9-10 A4 - CONCLUSIONS

11-12 A5 - LEARNING OUTCOMES

13 A6 - ALGORITHMS

14 REFERENCES

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Going into my 3rd year of majoring in Architecture, i am starting to develop a proper passion and inter-est, not in only design, but how buildings, spaces and environments are put together. I am interested in designs that have particular interaction with humans and nature. I like seeing connections made between the built and natural environment that are not neces-sarily obvious, but require some thought to unpack or understand them. I enjoy seeing the intertwining of contrasting built and natural environments.

I have used rhino briefly in virtual environmnets in first year. This was my first time using a digital mod-elling computer programme and was a very steep learning curve for me. Whilst i learnt some of the basic tools and skills to create a 3D virtual model, i found it very difficult to get my head around and get used to using this as a primary method of design. However as our designs are becoming more complex now, i can see rhino and virtual modelling are use-ful tools to be able to view models in 3D and make quicker modifications to surfaces etc. I am looking forward to furthering both my knowledge of and skills in computational programming in design this semester.

Some experience with: Rhino 5, Autocad and Adobe Creative Suite

INTRODUCTION

Madelaine WalshBachelor of Environments, Architecture

The BanQ building was constructed bewteen 2006-2008, by the Office dA archtects group. The building is located in Boston, USA. This digitally fabricated masterpiece displays the ways in which digital mod-elling and fabrication can produce designs thought impossible using traditional methods.

This design created an interior space that encom-passed the ideas of fluidity and organic movement in

a somewhat orderly space being a restaurant with set table arrangments. Critics have described an illusion of space present as the pillars join up with the contin-uous surface that acts as a suspended ceiling.

It is interesting to note how the flowing drip shapes of the pillars refelect the patterning on the natural bamboo wood which was the main material used in the construction of these fabricated panels.

BanQ, Office dA [Source: Arch Daily]

A1. DESIGN FUTURING

Minifie Van Schaik Architects designed this digitally sculptured Centre for Ideas, for the Victorian College of the Arts in 2001.

It was interesting to read that this design has been the cause of debate over appropriatness of architectural type, materials and perception. Both the facade and interiors display surfaces as a result of complex digi-tal modelling through interpretation of an algorithm. The material choices along with the fabricated surface design expressed forward thinking for the time of de-sign and construction.

Given the period/time when this buildign was de-signed it seems that it would have exceeded design expectations through the use of digital modelling to create such abstracted exterior and interior surfaces.

Whilst a complex design created from the influence of an algorithm, the design still displays simplicty through the use of repeated elements and geometric shapes.

Centre for ideas, Minifie Van Schaik [Source: MVS Architects ]

A2. DESIGN COMPUTATION

Computation in design has brought about many op-portunities and new ways of designing since its in-troduction to the field. Essentially the introduction of design computation has allowed designers to create multiple alternatives or versions of a design through the use of algorithms as well as a greater exploration of digital fabrication and new materials for construction. A great advancement in the way we are able to design has resulted from such com-putation technologies and tools.

With the world’s resources depleting at a rapid rate, the need for new, more efficient ways of design-ing and constructing have been drawn to attention. Some of this has prompted professionals in the in-dustry to research new materials, which are more cost effective and environmentally friendly to be used in current or future designs. To some extent, I think speculative design would play a helpful role at this stage. Exploring the possibilities of materials and designs without specific purpose or evidence is likely to lead to a range of different solutions. These may or may not be helpful, but will however, help us to further our knowledge of efficient build-ing materials and designs for the changing future environment and society.

The idea of performative design or performative ar-chitecture denotes that the built environment has a function to carry out that is determined by those who use it. Through the use of digital technologies such as parametric design and digital fabrication, advancements in architectural designs to produce buildings that carry out a specific purpose can now more easily be constructed. It is quite interesting to see how the built environment is evolving due to the influence of new technologies in design, but also due to the pressing factor of sustainability. The ways in which society chooses or is forced to adapt to an environmental perspective for the future, I think, will be likely to bring about some interesting results, especially through the use of speculative design, which I believe to quite a useful tool at this time of uncertainty.

The Emerson Los Angeles College courtyard façade [Morphosis Architects], demonstrates the ability of computational design to aid the construction of a building with a clear relationship between sustain-ability, function and design. Recycled materials and the inclusion of a dynamic sunshade system on the exterior glass curtain wall render this design as an innovative model for green design. Contrastingly, the Slipstream Pavilion [David A. Palmieri & Kyle M. Schillaci] looks as if it has been constructed free-ly without the use of digital design. However, the design was actually based on an algorithm, which analysed the flow of traffic and people through space. The ability of a structured, logical algorithm to produce such a free flowing, dynamic space, is a good example of the close relationship between architecture and science. This also indicates that there should be more integration of the two fields in order to produce more sustainable designs in the future.

One of the main changes in moving from traditional design methods to the introduction of computation is the use of algorithms to formulate a solution. In-tegrating algorithms into design allows the design-er to approach the problem from a different angle, and formulate a logical process using computation-al tools to modify and advance their initial design. Using such a method allows the designer to explore a greater range of solutions (forms, geometries, shapes, material cover etc), which may otherwise be rendered impossible without the use of digital computation.

Images sourced from Arch DailyTop to bottom; clockwise - Emerson Los Angeles Col-lege- Morphosis Architects, ICD / ITKE Research Pavil-ion 2011, Metropol Parasol Pavilion, Slipstream Pavil-ion- David A. Palmieri & Kyle M. Schillaci and the DFL Pavilion- University of Tokyo.

A3. COMPOSITION/GENERATION

An algorithm is a method or step-by-step process to complete an action. It is comprised of a set of rules, which allow the formation of solutions to a problem. Either a person or a computer can complete an algo-rithm, however the level of complexity of the process may make it harder for the average person.

It seems that algorithms are providing designers with the ability to continue advancing with the changing world. The act as an evolutionary tool I the world of design, promoting the formulation and discovery of new results, materials, fabrication and complex de-signs. This is perhaps one of the main benefits of computational or generative design provides us with, which compositional or traditional design cannot. As the world moves forward in favour of technology, compositional design, whilst still useful throughout the design process, cannot satisfy all of the needs of today’s emerging designs. I think, really, we have reached a point where we need to find new, more spe-cific solutions to design problems that prompt a sus-

tainable response. Algorithms are enabling designers to do this via rapid exploration of multiple solutions. To put it simply computation is redefining architec-ture, the way it works and the designs produced.

The Smithsonian Institution in Washington DC (Foster and Partners) is a good example of a generative ap-proach to architecture using computation to enhance the design. In this case digital design was used to ex-plore many possible variations of the geometric roof design, which could be rapidly generated using 3D modelling tools. In addition to this it was noted that the architects were also able to consider the acoustic and structural performance of the building as well as give an insight into the functionality of the building and surrounding environment.

Image: Smithsonian Institution [Source: Foster and partners Webpage]

PRECEDENT 2........

A4. CONCLUSION

Technology around the world is advancing rapidly, however cli-mate change and human impact are destroying the environ-ment at an equivalent rate. Designers, who are increasingly referred to as the “programmers of space” play an important role in designing a future environment that is both sustainable and provides for needs of the fast growing, ever-demanding population. I think it is important to start thinking about how the use of computational design can aid my design to pro-duce a result with a function specific to the site, users and sur-rounding environment. The use of algorithms in rhino is likely to help explore various modifications and solutions throughout the design process, as well as looking into more innovative ways of designing compared to traditional methods that have not involved parametric/3D digital design.

The images to the right, La Voûte de LeFevre (Matter Design), shows the exploration of materials in combination with digital fabrication. I like how the smaller parts/ units grow from the bottom of these wooden “tree” structures, suggesting that all these similar or different elements have come from the same origin- a statement which can be applied to many areas of bi-ology, design, even human nature. it could be interesting to do some research into 3D surfaces similar to this type of design for my studio work in Part B.

After learning some of the basics of grasshopper and algo-rithms, I am particularly interested in exploring the influence of emergent behaviour, and cells/living things in design. I think the analysis of flocking and human traffic patterns could be used as a good starting point for my research. I believe this could also help me to think more about the function of the design on the site and how it could interact with the users in a dynamic yet beneficial way.

Image: La Voûte de LeFevre, Matter Design [Source: Matter Design Studio Webpage]

A5. LEARNING OUTCOMES

Prior to commencing this subject I had little knowledge of algorithms and computational tools in architecture. Whilst I have come across grasshopper before in virtual environments, I did not learn to use it as a method of creating a set of processes or instructions for design mod-els. Therefore, already over the past few weeks, my ideas of architecture and design have been broadened and opened up to a new perspective. It is interesting to start to see just how many variations of one solution can be created through the use of an algorithm. This in particular could have been helpful to have understood when creating my virtual lantern. The ability to make quick modifications in order to enable exploration of multiple solutions, may have taken my design down an entirely dif-ferent path, which could have even produced a more appropriate/inno-vative final solution.

I am particularly interested in how algorithms can link a design back to nature or molecular life; I think this is something I would like to further explore in my own design process. The above image is of Hoshakuji Station in japan, its design inspiration came from pores, each segment acts as a greater part of an overall whole. After looking briefly through the research topics for Part B, it could be interesting to exxplore some sort of tesselation where smaller parts make up a greater whole, simi-lar to the aspect of ccomminity within the Merri creek site. The ability of technology to promote such a great advancement in the future of sustainable design is something vital to understand, as the world is only going to continue moving forward looking for new alternatives as the surrounding environment and societies evolve.

Image: Hoshakuji Station, KKAA and JR East Design Corporation [Source: Architonic]

A6. ALGORITHMIC EXERCISES

In the week 1 algorithmic exercise i played with the lofting tool, in an attempt to cre-ate something that could be used on site at Merri Creek. The use of grasshopper really helped to create multiple variations and more complex models from the ini-tial loft. The result i have come to could be used as a shelter area at some point along the creek, providing users with both undercover and open air spaces. The or-ganicness of the shape somewhat re-flects the varied topography of the Merri Creek site.

REFERENCES

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

Wilson, Robert A. and Frank C. Keil, eds (1999), Definition of ‘Algorithm’ in The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press),